Regina Resnik

BY CHARLIE HANDELMAN

Every time
I begin to write something about Regina Resnik, whether it be liner notes
for a CD, a review of a particular recording, or this very article, my
thoughts begin to race around in my head at too fast a speed for me to
grasp, for this is an individual of so many great attributes in the world
of music and such an incredibly unique human being, that I wonder if perhaps
I might just as well write a book. But I will cut it all down to a simple
article like this one and attempt to explain some of my feelings toward
someone I have known for over 40 years onstage and off.

My first introduction to Mme. Resnik was at a performance of Salome
in the old Met back in 1958. A friend had informed me that she had become
a mezzo-soprano after a distinguished career as a soprano and had performed
a Marina in BorisGodunov
that caused such raves that I just had to see for myself what this was
all about. Well, as it turned out, the role of Herodias, thought to be
a rather smallish part, became so important that evening, owing to Madame
Resnik's phenomenal command of the stage and the richness of her vocal
timbre. I was totally committed to her art from that moment on, and went
on to see her in subsequent seasons as Laura in Gioconda, where
she and Zinka Milanov brought down the house after their act two duet.
(Note: I thought only Cloe Elmo could sing the opening of "L'amo come
il fulgor del creATO" with that kind of tone), and later in all of her
great "signature roles" such as Carmen, Dame Quickly, and the Klytaemnestra
of one's dreams.

In those days we had music clubs for singers and I soon discovered there
was one for Regina and so each year we had a wonderful time at her home
in NYC. Listening to her wonderful opera stories and partaking of so many
great examples of her analyses of subjects relative to the vocal art -- plus
she sure can cook!

As the years passed and I began to collect many performances
dating back to the earliest part of her career. I heard a "La mamma
morta" that sounded to a well-known opera coach and teacher reminiscent
of Rosa Ponselle? And then we have the great Sieglinde
of Bayreuth 1953 and then the brilliant Fricka
of 1961, with Resnik singing tones of the greatest depth and richness..and
on and on in so many great roles. And toward the end of her Met days, that
one-and-only "Chacun a Bing's gout" that
caused the audience to erupt in hysterics as the Met took leave of Sir
Rudolf Bing in 1972?

Some people tell me that I rave and rave over Regina and some of my other
"opera-diva friends" in such a way that I do not appear to be objective
because there is a personal relationship involved; exactly the opposite
is the case, because I "loved the star before I knew her" and in fact
am even overly critical, in an effort to be objective. In Regina's case,
it is quite easy to rave, because her achievements are so many and she
has been so highly honored in so many countries by so many people. Her
television documentary entitled, "The Historic Ghetto of Venice" was an
award-winner in 1983.She received a Tony nomination for the role of Frau
Schneider in Cabaret in 1988 a Drama Desk Award for Mme. Armfelt
role in the New York City Opera Production of Sondheim's A Little Night
Music in 1990.

On the occasion
of her 50th Anniversary she was honored at her Alma Mater, New York's
Hunter College as well as in various European capitals where she had earned
great praise as a great artist. Most recently she became the first recipient
of the Diamond Award from the New York City Opera and received the Lawrence
Tibbett Award from AGMA for a lifetime of achievement. Taking into account an opera career of well over three decades, plus her endeavors
in the field of directing, producing, filmmaking, acting and teaching, I realized
that perhaps no one ... yes, I said NO ONE in this century had achieved quite
the unique place to which she had risen, for she had become so well-appreciated
in so many fields that I could not think of one other opera star who had
been able to make such a mark in so many areas. Perhaps today, Placido
Domingo might be the closest.

Today Mme. Resnik divides her year between New York and Venice for many
ventures, including master classes in these and in other cities. For many years she collaborated with her husband, the great painter and sculptor Arbit Blatas, until his death in 1999. Now, in her 80th year, she remains much in demand
worldwide as teacher,coach, adjudictor and mentor; her knowledge, vitality and exuberance
have exerted profound influence on many young singers.

This was my very
"brief" article on someone I have known and loved for many years. I hope
it was at least informative and I do urge you to spend some time listening
to some of the great recordings of Mme. Resnik, available on CD. I have
attempted to present a picture of one of the most important artists of
the century, so aptly named "Regina." Long may she reign!